John Constable | The Hay Wain | NG1207 | National Gallery, London More paintings in this room Constable's painting is based on a site in Suffolk, near Flatford on the River Stour. The hay wain, a type of horse-drawn cart, stands in the water in the foreground . Across the meadow in the distance on the right, is a group of haymakers at work. The cottage shown on the left was rented by a farmer called Willy Lott and stands behind Flatford Mill. Today, the cottage and river path are still much as they were in Constable's time. Although the painting evokes a Suffolk scene, it was created in the artist's studio in London. Constable first made a number of open-air sketches of parts of the scene. He then made a full-size preparatory sketch in oil to establish the composition . The painting was exhibited at the Royal Academy in 1821, the year it was painted, but failed to find a buyer. Yet when exhibited in France, with other paintings by Constable, the artist was awarded a Gold Medal by Charles X.

Share this painting The Haywain (constable) - Check123, Video Encyclopedia in 1, 2 & 3 minutes! The Haywain (constable) The Haywain (or The Hay Wain) by John Constable, painted in 1821. Painted in oil on canvas. Presented in the National Gallery in London (UK) Style – Romanticism Known as England’s most iconic painting and John Constable’s most famous painting. About The Haywain- The painting is a part of Constable‘s Six-Footers series. It depicts the scene near Flatford Mill on the River Stour between two English countries Suffolk (shown in the left side of the painting) and Essex (on the right side). Amazing facts about The Haywain: It was first exhibited in London’s Royal Academy (1921) and failed to find a buyer. It was originally titled “Landscape: Noon”. Watch this video and learn all about The Haywain (Constable). Amazing facts about arts, paintings, and romanticism in 1, 2 or 3 minute videos!

The Hay Wain by John Constable The Hay Wain (c.1821) Oil Painting by John Constable The Hay Wain is painted in oil on canvas. It depicts, as its central feature a pair of horses pulling a hay wain or large farm cart across a river. The scene is set near a cottage, known by name in another Constable painting as Willy Lott's Cottage. It is located near Flatford Mill on the River Stour in Suffolk, though because the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex. The original can be seen in the National Gallery in London. Price upon application. About: The Hay Wain About: The Hay Wain An Entity of Type : work , from Named Graph : , within Data Space : dbpedia.org The Hay Wain is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.

Property abstract La carreta de heno o El carro de heno (The Hay Wain, en inglés) es un conocido cuadro del pintor romántico británico John Constable. Está datado en 1821. Se trata de un óleo sobre tela que mide 130,5 centímetros de alto por 185,5 centímetros de ancho. Actualmente se conserva en la National Gallery de Londres, Reino Unido. (es) The Hay Wain is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. Painted in oils on canvas, the work depicts as its central feature three horses pulling a hay wain or large farm cart across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far left.

The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex. The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature. (en) Il carro da fieno (in inglese The Hay Wain) è un dipinto a olio su tela (130,2x185,4 cm) di John Constable, databile al 1821 e conservato nella National Gallery di Londra. (it) La Charrette de foin (The Hay wain, en anglais) est un tableau achevé par John Constable en 1821.

Cette peinture à l’huile sur toile de 130 × 185 cm est conservée à la National Gallery de Londres. (fr) The Hay Wain (dt. Der Heukarren, auch Der Heuwagen) ist ein 1821 vollendetes Gemälde des britischen Malers John Constable. Es zeigt eine ländliche Szene am River Stour in Suffolk. Das Gemälde befindet sich heute in der National Gallery, London und gilt als eines der beliebtesten Gemälde der britischen Öffentlichkeit. (de) Wóz na siano - obraz autorstwa Johna Constable'a, ukończony w 1821. Obecnie znajduje się w National Gallery w Londynie. W polskiej literaturze przedmiotu spotyka się też inne warianty tytułu - Wóz z sianem (chociaż na przedstawionym na obrazie wozie nie ma siana) lub Bród.

Obraz przedstawia okolice Flatford Mill, młyna będącego własnością ojca Constable'a, położonego nad rzeką Stour, w hrabstwie Suffolk. Budynek na obrazie to istniejący do dziś dom sąsiada Constable'a - Willy'ego Lotta. Na pierwszym planie widać psa; chociaż jest on stosunkowo niewielki stanowi ważny element kompozycji - prowadzi oko widza do głównego motywu obrazu, wozu stojącego w wodzie, zaprzężonego w dwójkę czarnych koni. W oddali widać słabo widocznych ludzi pracujących przy sianie, zapewne tam jedzie wóz. Znaczne partie obrazu zajmują drzewa i wysokie kłębiaste chmury stanowiące charakterystyczną cechę tego regionu. Powstają one na skutek bliskości ujścia rzeki Stour.

Obraz powstawał przez kilka lat, artysta wykonał najpierw w plenerze wiele małych szkiców, a potem duży szkic wielkości przyszłego obrazu, na którym opracował kompozycję dzieła. Obraz miał być próbą stworzenia nowego tematu malarskiego, podniesieniem pejzażu do godności sztuki poważnej. Obraz uznawany jest za jedno z najlepszych dzieł brytyjskiego malarstwa, jednakże kiedy w 1821 został wystawiony w Royal Academy, nie znalazł nabywcy. Dopiero później został kupiony przez Johna Arrowsmitha i w 1824 wystawiony na Salonie w Paryżu, gdzie zdobył złoty medal. Obraz był również wysławiany przez Théodore Géricault i stał się inspiracją dla nowego pokolenia francuskich malarzy, do których należał m.in. Eugène Delacroix.

W 1886 dzieło zostało podarowane National Gallery w Londynie przez ówczesnego właściciela, Henry'ego Vaughan. (pl) De hooiwagen (Engels: The Hay Wain) is een landschap van de Engelse kunstschilder John Constable, gemaakt in 1821, 130,2 × 185,4 cm centimeter groot. Het toont de plattelandsomgeving bij Flatford, niet ver van zijn geboortehuis in Suffolk. Het werk is geschilderd in de stijl van de romantiek en bevindt zich momenteel in de collectie van de National Gallery te Londen. (nl) Телега для сена — картина Джона Констебла, написанная в 1821 году. Изображает сельскую сцену на реке Стаур между Суффолком и Эссексом.

Выставляется в Лондонской национальной галерее и считается самым известным полотном Констебла, а также одной из наиболее популярных английских картин.Картина написана маслом на холсте. Центральным элементом композиции является пара лошадей, тянущих телегу для сена через реку. Вдалеке слева виднеется дом Вилли Лотта,появляющийся также на некоторых других произведениях Констебла. Действие картины происходит неподалёку от мельницы Флэтфорд в Суффолке. Река Стаут является своеобразной границей: на левом берегу располагается Суффолк, на правом виднеются пейзажи Эссекса.«Телега для сена» принадлежит к серии картин Констебла, условно называемых «шестифутовыми».

Это масштабные полотна, написанные к ежегодной летней выставке Королевской Академии художеств. Как и для всех картин этой серии, для «Телеги для сена» Констебл сделал полномасштабный набросок, хранящийся сейчас в Музее Виктории и Альберта. Первоначально художник выставлял картину под названием «Пейзаж: вечер», предполагая вписать её в ряд традиционных пейзажных полотен, отражающих цикличность природы. (ru) comment La carreta de heno o El carro de heno (The Hay Wain, en inglés) es un conocido cuadro del pintor romántico británico John Constable. Está datado en 1821. Se trata de un óleo sobre tela que mide 130,5 centímetros de alto por 185,5 centímetros de ancho.

Actualmente se conserva en la National Gallery de Londres, Reino Unido. (es) Il carro da fieno (in inglese The Hay Wain) è un dipinto a olio su tela (130,2x185,4 cm) di John Constable, databile al 1821 e conservato nella National Gallery di Londra. (it) La Charrette de foin (The Hay wain, en anglais) est un tableau achevé par John Constable en 1821. Cette peinture à l’huile sur toile de 130 × 185 cm est conservée à la National Gallery de Londres. (fr) De hooiwagen (Engels: The Hay Wain) is een landschap van de Engelse kunstschilder John Constable, gemaakt in 1821, 130,2 × 185,4 cm centimeter groot. Het toont de plattelandsomgeving bij Flatford, niet ver van zijn geboortehuis in Suffolk.

Het werk is geschilderd in de stijl van de romantiek en bevindt zich momenteel in de collectie van de National Gallery te Londen. (nl) The Hay Wain is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. (en) The Hay Wain (dt. Der Heukarren, auch Der Heuwagen) ist ein 1821 vollendetes Gemälde des britischen Malers John Constable. Es zeigt eine ländliche Szene am River Stour in Suffolk.Das Gemälde befindet sich heute in der National Gallery, London und gilt als eines der beliebtesten Gemälde der britischen Öffentlichkeit. (de) Wóz na siano - obraz autorstwa Johna Constable'a, ukończony w 1821. Obecnie znajduje się w National Gallery w Londynie.

W polskiej literaturze przedmiotu spotyka się też inne warianty tytułu - Wóz z sianem (chociaż na przedstawionym na obrazie wozie nie ma siana) lub Bród.Obraz powstawał przez kilka lat, artysta wykonał najpierw w plenerze wiele małych szkiców, a potem duży szkic wielkości przyszłego obrazu, na którym opracował kompozycję dzieła. Obraz miał być próbą stworzenia nowego tematu malarskiego, podniesieniem pejzażu do godności sztuki poważnej. (pl) Телега для сена — картина Джона Констебла, написанная в 1821 году. Изображает сельскую сцену на реке Стаур между Суффолком и Эссексом.

Выставляется в Лондонской национальной галерее и считается самым известным полотном Констебла, а также одной из наиболее популярных английских картин.Картина написана маслом на холсте. Центральным элементом композиции является пара лошадей, тянущих телегу для сена через реку. (ru) Haywain - Definition and synonyms of Haywain in the English dictionary. Translation of Haywain to 20 languages. Haywain Meaning of Haywain in the English dictionary DICTIONARY exclamation Haywain is a noun. A noun is a type of word the meaning of which determines reality. Nouns provide the names for all things: people, objects, sensations, feelings, etc. WHAT DOES HAYWAIN MEAN IN ENGLISH? The Hay Wain The Hay Wain is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex.

It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. Painted in oils on canvas, the work depicts as its central feature three horses pulling a hay wain or large farm cart across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex. The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London.

Synonyms and antonyms of Haywain in the English dictionary of synonyms SYNONYMS WORDS RELATING TO «HAYWAIN» Haywain haywain bramling value bosch epsom restaurant analysis triptych print wain painting john constable finished which depicts rural scene river stour southampton carvery crown carveries visit your local great roasts food classics lilypad story behind classic gloucester marston inns taverns welcome spend less eating with menu official homepage caldicot sizzling pubs what makes such favourite amongst maybe satisfying sizzle skillets unbeatable money reviews unbiased rated tripadvisor ranked built around situated heart picturesque east kent countryside motel accommodation alford lincolnshire explorer modern main southend road this beefeater grill attractive basildon bookatable offering Translation of «Haywain» into 20 languages TRANSLATOR TRANSLATION OF HAYWAIN Find out the translation of Haywain to 20 languages with our English multilingual translator . The translations of Haywain from English to other languages presented in this section have been obtained through automatic statistical translation; where the essential translation unit is the word «Haywain» in English.

List of principal searches undertaken by users to access our English online dictionary and most widely used expressions with the word «Haywain». FREQUENCY OF USE OF THE TERM «HAYWAIN» OVER TIME The graph expresses the annual evolution of the frequency of use of the word «Haywain» during the past 500 years. Its implementation is based on analysing how often the term «Haywain» appears in digitalised printed sources in English between the year 1500 and the present day. Examples of use in the English literature, quotes and news about Haywain EXAMPLES 10 ENGLISH BOOKS RELATING TO «HAYWAIN» Discover the use of Haywain in the following bibliographical selection. Books relating to Haywain and brief extracts from same to provide context of its use in English literature. 1 Hieronymus Bosch, C. 1450-1516: Between Heaven and Hell All these haycarts appeared some years after Bosch's death, most probably inspired by his »Haywain« triptych, but it is reasonable to assume that the latter work possessed the same significance. The fact that the haycart of 1563 was a camival ...

Walter Bosing, 2000 10 Women and the Media: Feminism and Femininity in Britain, ... Sitting on top of their haywain with crucial domestic, farm and childcare items, a mother, two children and grandmother were poised mid conversation with a well- dressed blonde woman and an American army officer. The sharp diagonal ... Maggie Andrews, Sallie McNamara, 2014 10 NEWS ITEMS WHICH INCLUDE THE TERM «HAYWAIN» Find out what the national and international press are talking about and how the term Haywain is used in the context of the following news items. 1 Jail warning to soldier who injured man when drink-driving A SOLDIER who left a man badly injured in a collision when he was drink-driving has been banned from the road. James Price of Haywain Close, Blunsdon,was ... «Swindon Advertiser, Jul 15» 2 "Major flooding" causes Quedgeley pub closure The large family-friendly Harvester is in a central spot in Quedgeley, located by Tesco Extra and the Haywain Inn in Bristol Road.

«Gloucester Citizen, Jun 15» 3 Gedney Drove End and Dawsmere RBL stage first classic car show Max and Olivia Thompson by Piccaver's haywain. SG270615-143TW. Dynamic Dart Advertisement. Trending. Restraining order against ... «Spalding Guardian, Jun 15» 4 Hunt for driver after woman gets run over in The Haywain's car park … On Friday, at approximately 3.30pm a non-stop collision occurred in the car park of The Haywain public house, Bristol Road, Quedgeley. «Western Daily Press, May 15» 5 Woman, 18, taken to hospital after being hit by vehicle in Quedgeley … An 18-year-old woman was taken to hospital after she was hit by a vehicle in the car park of The Haywain pub in Quedgeley. Police were called ...

«Gloucester Citizen, May 15» 6 Champagne flows for charming Cider This time it is most significantly used as the haywain, where the teenage Laurie (Lewis Howard) is seduced by the sweet Rosie (Olivia Lowry) ... «The Cornishman, May 15» 7 Whitstable's Ship Centurion named as the best pub in the … ... second in last year's competition, came on top desite a stiff competition from the Canterbury's Kings Head and The Haywain at Bramling. «Canterbury Times, May 15» 8 Peter Kennard: Unofficial War Artist review – the king of political … Constable's Haywain stacked with cruise missiles (as if en route to Greenham in the early 1980s, when the montage was made); the globe as a ... «The Guardian, May 15» 9 Peter Kennard: Unofficial War Artist, Imperial War Museum, review … His 1982 reinvention of Constable's Haywain – the wain now carrying cruise missiles destined for Greenham Common – harks back ...

«Telegraph.co.uk, May 15» 10 Protest and survive: why Peter Kennard is political dynamite Constable's Haywain with cruise missiles, oil explosions, the financial pages of a newspaper in shreds … Peter Kennard's montages have ... «The Guardian, May 15» REFERENCE 'Flatford Mill (‘Scene on a Navigable River’)', John Constable, 1816–7 | Tate Catalogue entry Summary Constable began this picture, his largest exhibition canvas to be painted mainly outdoors, a few months before his marriage to Maria Bicknell (see Tate Gallery T03900 ). He wrote to Maria from Bergholt on 12 September 1816: 'I am now in the midst of a large picture here which I had contemplated for the next exhibition - it would have made my mind easy had it been forwarder - I cannot help it - we must not expect to have all our wishes complete' (in R.B. Beckett, ed., John Constable's Correspondence, II, Ipswich 1964, p.203).

Prior to 1814, the artist produced his exhibition pictures in the studio, working from oil sketches and drawings , but in that year he declared his intention to make finished paintings from nature. The summers of 1816 and 1817 were the last occasions upon which Constable spent any length of time at East Bergholt, and the last in which the artist painted directly from the scenery of his Suffolk childhood. Constable frequently depicted the scenes of his 'careless boyhood' which, he wrote to his friend Archdeacon Fisher, he associated with 'all that lies on the banks of the Stour. They made me a painter (& I am gratefull)' (letter of 23 October 1821; in Beckett, VI, 1968, p.78). The Constable family business was at Flatford, about a mile from East Bergholt. The family had a watermill on the Stour for grinding corn, and a dry dock for building the barges to transport grain to Mistley for shipment to London, as well as a watermill upstream at Dedham.

The passage up and down the river required the use of horse-drawn barges; the ropes had to be disconnected in order to allow the barges to be poled under Flatford bridge. In this picture, a boy is disconnecting a rope and another sits astride a tow-horse. Constable painted the inscription to appear as if it had been scratched in the earth with a stick. Although the painting was probably executed largely on the spot, various details were almost certainly added in the studio, such as the boy and the horse, the timberwork in the foreground and the mooring-post on the left. It is known from x-rays that the artist painted out a horse on the tow-path and substituted the figures of two boys. Constable evidently experienced difficulty painting outdoors on such a large canvas as this one, for after showing it at the Royal Academy in 1817, he repainted the tops of the trees and the entire sky, presumably in time for the picture's second showing at the British Institution in January 1818.

Constable made several drawings and oil sketches of the subject from various angles, but the only certain preparatory studies for the picture are an oil sketch in the collection of David Thomson and two drawings, one in the Tate (Tate Gallery T05493 ). This is a pencil tracing of an image made with a brush on a sheet of glass held on an easel in front of the subject itself. The tracing was made by placing a piece of paper over the image on the glass, and was squared for transfer to the canvas. It contains the two barges but none of the figures seen in the painting. Further reading: Leslie Parris and Ian Fleming-Williams, Constable, exhibition catalogue, Tate Gallery, London 1991, pp.17, 69, 120, 179-81, 229, 286, 413, 467, 469, 510, reproduced p.181 in colour Terry Riggs Read more Display caption Landscape painting flourished in the 19th century, ranging from the epic, through rustic nostalgia to the naturalism championed by John Constable.

He based what he called his ‘natural painture’ on study of nature, experience of his subjects and attention to working life, especially in the Stour Valley where his father was a miller and merchant. When possible, he sketched or worked on pictures outdoors. Flatford Mill shows barges approaching Flatford footbridge after passing through the lock near his father’s mill. Its bright, airy realism was unprecedented at the time. Gallery label, February 2016 Catalogue entry N01273 Scene on a Navigable River (Flatford Mill) 1816–17, dated & exhibited 1817 Oil on canvas, 40×50 (101.7×127). Inscribed by the artist ‘Joll Constable. f:1817.’ bottom centre, in simulation of writing incised in the earth. Prov: Executors of John Constable, sold Foster and Sons 16 May 1838 (54, ‘Flatford Mills, Horse and Barge’), bt. in by C.R. Leslie at £52.10s.

for the Constable family; bequeathed by Isabel Constable to the National Gallery 1888, as the gift of Maria Louisa, Isabel and Lionel Bicknell Constable; transferred to the Tate Gallery 1957. Accession N01273. Exh: R.A. 1817 (255, ‘Scene on a navigable river’); B.I.

1818 (91, ‘Scene on the Banks of a River’, size of frame 58×68 inches); R.A., Old Masters, 1871(242); Leeds 1913(68); Tate Gallery 1937(p.18, No.31); Two Hundred Years of British Painting, Public Library and Art Gallery, Huddersfield, 1946(92); Hamburg, Oslo, Stockholm and Copenhagen 1949–50(14); Venice 1950(10); Manchester 1956(18); Moscow and Leningrad 1960(57); Tate Gallery 1971(92); Tate Gallery 1976(151). Engr: in mezzotint by David Lucas as ‘Flatford Mill’ and published by him 1845, although the publication line reads 1844 (Shirley 1930, No.46).

Lit: Holmes 1902, pp.83, 119, 243; Shirley 1937, pp.lxvii, 99,120; Davies 1946, pp.28–9; Kitson 1957, pp.344–5; Beckett 1961, Paintings: Suffolk B(40–41) No.86; Reynolds 1965, pp.56–60; Charles Rhyne, ‘Fresh Light on John Constable’, Apollo, LXXXVII, 1968, p.230; Taylor 1973, pp.28,41,43; Smart and Brooks 1976, pp.68–72, 134; Hoozee 1979, No.233. ‘Flatford Mill’, as it is generally called today, was the forerunner of the series of six-foot canvases of river subjects which Constable began exhibiting in 1819.

He had already shown a river landscape of the same size as No.14 - ‘Landscape: Boys fishing’ in 18131 - but this did not depict the working life of the Stour. In ‘Flatford Mill’ and the larger canvases that followed (‘The White Horse’, ‘Stratford Mill’, ‘The Hay Wain’ and so on), barges and bargees, towing-horses and their riders, and the operation of locks became central features. No.14 shows the view from the southern end of the footbridge at Flatford, looking along the tow-path to Flatford lock and the mill buildings beyond. The viewpoint, slightly above ground-level, is on the slope up to the bridge, the first timbers of which appear in the bottom left corner of the picture. On the river a pair or ‘gang’ of barges is about to be poled under the bridge. The figure crouching on the bank behind the towing-horse seems to be drawing in the disconnected tow-rope.

Like so many of Constable's pictures, the composition had its origin in the 1814 sketchbook (V.&A., r.132),2 page 61 of which (Fig.1), dated 14 August, corresponds fairly closely with the centre and right hand side of the painting . Page 63 in the same sketchbook (Fig.2) is not directly related but shows from a different angle the clump of trees seen at the fork of the river in the left middle-distance of No.14. Page 10 in the 1813 sketchbook (Fig.3, V.&A., r.121)3 gives a view of the whole scene but from the opposite bank, just upstream of the bridge. This variant composition appears again in an oil study now in the collection of Mr A.L.Gordon (Fig.4, h.170).4 Two further oil studies in private collections are more closely related to the painting.

In one (Fig.5, tg 1976 No.130, h.231)5 the river and mill buildings are seen from the bridge rather than from the slope up to it, while the other (Fig.6, tg 1976 No.131, h.232),6though vertical in format, presents the subject from more or less the same viewpoint as in the painting. However, the study (if study it is) most directly connected with No.14 is one formerly in the collection of P.A.B.Widener (Fig.7, W.Roberts, Pictures in the Collection of P.A.B.Widener ... British & Modern French Schools, 1915, No.2, h.617).7 This lacks the barges and human figures but includes the foreground horse and shows another horse further along the tow-path, where the two boys appear in No.14.

The authenticity of this work has been questioned but a point in its favour emerged when No.14 was x-rayed by the Courtauld Institute in 1975: Constable originally painted a horse in exactly the position indicated in the Widener picture, i.e. where the reclining boy now appears (Fig.8). Once looked for, the painted-out horse can still be seen. It seems likely that the standing boy with his long stick was originally shown feeding this horse and, perhaps because the incident distracted too much from the distant view, that Constable decided to move the animal to its present, less conspicuous position beside the lock, substituting for it a second, reclining, boy. The horse's collar and towing gear were, however, left behind on the grass beside the boy and his new companion. The two privately owned oil studies reproduced in Figs.5–6 and the Widener picture were presumably all made after 14 August 1814 since they omit a large branch which Constable noted on the foremost tree in his sketchbook drawing that day (Fig. 1).

On 12 September 1816, three weeks before their marriage, Constable wrote to Maria Bicknell from East Bergholt: ‘I am now in the midst of a large picture here which I had contemplated for the next exhibition - it would have made my mind easy had it been forwarder’ (JCC II, p.203). The picture was almost certainly ‘Flatford Mill’. Farington definitely saw it when he called on Constable on 2 January 1817 ‘to look at several painted studies from nature made by Him last Summer & autumn; also a large landscape composed of the Scenery abt Dedham in Essex.

I exhorted Him to compleat them.-’ (Farington was frequently rather vague about the topography of Constable's pictures).8 Although much approved by some Academicians (including Beechey, who seems to have set going a rumour about Constable's imminent election to the Academy: JCC II, pp.219–20), the painting attracted little notice at the 1817 exhibition and failed to sell.9 When he got it back Constable appears to have repainted the foliage at the top of the large tree at the right and most of the smaller tree behind it. Pentimenti can be seen in these areas and the 1975 x-rays show the shape of the smaller tree to have been more regularly curved, as on p.61 of the 1814 sketchbook (Fig. 1). A large, detailed drawing of the two trees (Fig.9, V.&A., r.161, tg 1976 No.154),10 dated 17 October 1817, i.e. well after the R.A.

exhibition, corresponds very exactly with the repainted areas, while differing in other parts, and was presumably made specifically for these revisions. Constable's further work on the picture made no difference to its immediate fate. It found no buyer when shown at the British Institution in 181811 and even twenty years later, in the artist's sale, failed to reach its reserve price. 1. Probably the picture in the Fairhaven Collection at Anglesey Abbey, which measures 40×49 1/2 inches (tg 1976 No.118, h.174). 2. Page size, 3 3/8×4 1/4 (8×10.8). 3. Pencil, 3 1/2×4 3/4 (8.9×12.1). 4. Oil on canvas, 9 13/16×7 1/2 (25×19). 5. Oil on paper, 4 1/2×6 1/8 (11.4×15.6). 6.

Oil on canvas, 9 1/2×7 1/2 (24.1×19). Ian Fleming-Williams suggests that this sketch is the earliest known example of Constable painting with a palette knife. 7. Oil on canvas, 13 1/2×16 1/4 (34.3×41.3). Fig.7 is taken from the illustration in the 1915 catalogue: the picture is untraced today. 8. The possibility that Constable was already working on ‘Flatford Mill’ in 1815 was discussed in a footnote to the entry on the picture in the 1976 Constable exhibition catalogue. That note, however, overlooked Beckett's plausible identification (JCC IV, p.45) of the picture Constable began in 1815 with the work D.P. Watts bought the following year, i.e. ‘A wood: Autumn’, exhibited at the R.A. in 1816. 9. The Literary Gazette, 10 May 1817, p.249, mentioned the painting as ‘a river scene, in very improved style’.

When the work reappeared at the British Institution the following year, the same journal commented: ‘There is quite a magical effect in this landscape, which reaches a degree of the deceptive in art which we rarely see displayed, without any of those sacrifices we find so often made to form, colour, or composition. It is in short a perfect panorama, but a panorama not indebted to the usual means called in to produce panoramic effect. The character of the pencilling is no less extraordinary; - and the making out of the foliage denotes great labour to attain the rude in nature, which is yet far removed from neglect’ (21 March 1818, p.186). 10. Pencil, 21 3/4×15 1/8 (55.2×38.5). 11. Annals of the Fine Arts, III, 1818, No.8, p.175 reported the sale of the picture to James Sedgwick but this was presumably a mistake since the painting appeared in the artist's sale in 1838.

The same journal named Thomas Barber as the purchaser of Constable's other exhibit at the British Institution that year, ‘A Cottage in a Cornfield’, but Constable had almost certainly sold this work to William Venables: see Ian Fleming-Williams, ‘A rediscovered Constable: the Venables Cottage in a Cornfield’, The Connoisseur, Vol.198, 1978, p.135. Judy Ivy kindly drew the reference in Annals of the Fine Arts to my attention. Published in:

Question: John Constable’s ‘Haywain’ depicts a scene on which river?
Answer: Stour